Fan Review by Beastienut:
The only way I was ever going to remotely have a chance to ever speak to or for the Beasties to acknowledge my existence was to try to pick a fight with one of them. Being that Adrock is my favourite and that he might be the only one to acknowledge my existence, I thought I would give him a try.
At the beginning of this show, like every show I've ever attended, I seem to work my way up to and wedge myself against the front of the pit and the
guard rail that protects people from climbing on stage. During the first few
minutes of this show and through most of the show, I was constantly cursing
and flipping Adrock off to get his attention (yeah, I know, it sounds
childish....but like I said...) and did I get his attention alright. He was motioning me to come up on stage to actually fight him while he was
performing. I thought to myself during this time, "I actually have his attention, now what?" Adrock was ready to fight, big time. The only thing I
knew to do was to show him my exact replica tattoo that he has on his right
shoulder to him. As soon as I lifted up my sleeve on my shirt and showed him
the tattoo, he was in shock. I think he was like, "I can't believe this guy
has my exact tattoo" (in a good way).
By this time it was getting close to the end of the show. The encore was
coming up which was "Sabotage", and this is what Adrock said, "I'd like to
dedicate this next one...to my main man down here. He's been fucking with me
all night long". The riff to "Sabotage" began. It was awesome.
Fort Worth Star-Telegram
By Malcom Mayhew:
Dallas - No real problems went down last night at the Beastie Boys triple-bill concert at Fair Park Coliseum, the oversize barn where Nine Inch Nails and Pantera concertgoers ripped up the floor earlier this year.
There were plenty of fights in the parking lot, and security's dream of keeping the floor to a certain number of people quickly became a nightmare as a good chunk of the sold-out audience leapfrogged the balcony walls, spilling onto the floor, causing an immovable mob of body-surfers.
Because security was taking forever to scan everyone in, half the crowd missed the Roots, probably the best act on the bill. The Philly fivesome's 40-minute opening set combined the jazz-tinged rap of US3 with the sample-heavy hip-hop of House of Pain. What those bands accomplished with DATs, though, the Roots pulled off live, using actual instruments, giving them more of an honest, rootsy edge.
Trendy, tunelss New York trio Blues Explosion followed, offering an hour's worth of strobe lights, howling, exploding guitar chords, and plenty o' posturing. The threesome, led by singer/guitarist Jon Spencer, hasn't had much of a problem finding fans lately: Spencer's history with New York noise band Pussy Galore makes him a sure shot with both old and new audience; the band makes records for once-cool label Matador; and the guys have toured with the Jesus Lizard and Jawbox, making them an indie rock sensation.
Ultimately, though, the band only knows a few tricks. Spencer yelling "Blues Explosion" over and over seems kind of clever, but like the group's no-brainer, one chord battering, such cleverness quickly runs thin.
The Beastie Boys closed the show with a raging mix of prerecorded hip-hop, funk and rap. Halfway through the show, Adam Yauch (MCA), Mike Diamond (Mike D) and Adam Horovitz (King Ad-Rock) actually picked up instruments, aided by three percussion players and two DJs, I guess to prove that they had just as much talent as their digital counterparts. Why they bothered, I don't know. As soulless and unfulfilling as songs like Heart Attack Man and No Sleep Till Brooklyn are, it barely makes a difference whether it's a man or machine that's spewing them.